Kaylors Reblog

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a few age related observations & easter egg clownery

So first, Taylor's current age is 31.

In All Too Well (The Short Film), Taylor highlights being 21 years old. Then, later in the film, we cut to 13 years later.

21 + 13 = 34 years old

ATW10 book release Taylor was 34 years old

And then, we got this detail from Jimmy Fallon where Taylor mentions hinting at something 3 years in advance.

Remember Taylor today is 31.

31 + 3 = 34 years old

Taylor also mentions in this interview that she actively sought to incentivize fan to read her lyrics with her coded messages. And that her lyrics, her words, are what she is most proud of in her career.

We've been seeing certain hints toward Speak Now as of late.

I must also remind you of this very important line from the Speak Now prologue. (I had this in a draft on November 1st and should've posted it then!)

Furthermore, I saw it suggested somewhere that the very title cards throughout the short film were chapter titles to ATW10 Taylor's book.

Long story short, I unabashedly in full clownery predict Taylor is planning on releasing a tell-all memoir like the ATW10 version of herself did. Furthermore, with the various Speak Now easter eggs we've seen lately, I also predict that Speak Now will be coming soon and that this "book millions might read someday" will be in our hands in about 3 years time

I believe this is something she's been planning for a while. And I can't wait to hear what she's been waiting to say!

do you interpret mastermind as "i orchestrated/designed the entire relationship with my beard" or as the genuine "i wanted to be with you so i planned out everything and none of it was accidental"?? or both maybe?

i completely believe it’s about taylor and karlie oh my goodness no contest.

it fits so many kaylor songs and how we think about their relationship.

but not just how taylor planned out how she was going to win karlie’s heart, it’s also a song that has a cute surprise twist midway through the song where it’s revealed that her love interest was also wooing her and knew she was being wooed!!

Taylor Swift’s 2005-2006 MySpace Comments

Taylor’s alleged MySpace comments in a chronological order from 2005 to 2006. (Time of posts on 24h). Pictures of the comments were too blurry, so I didn’t add, but if needed, I have them saved in a file if anyone needs proof. 

NB: All the comments are replies to unknown posts by her friends, so the context is unknown. 

Keep reading

Hiii can you do the pronouns percentage with lover and folklore in? I've just seen the one with rep included but FOLKLORE IS SO GAY. Also you're doing gods work thank you so much 💕

Hi! I’ve updated the charts to include Folklore - there is actually already a post which includes the pronouns from Lover (here) if you’re interested to see what has and hasn’t changed.

As always, the songs not included in these charts are those from Taylor’s unreleased catalogue; those for which Taylor is credited as co-writer, but which were released by another artist (e.g. Kellie Pickler’s ‘Best Days of Your Life’); and her OSTs (Eyes Open, Safe and Sound, Sweeter Than Fiction, I Don’t Wanna Live Forever and Beautiful Ghosts).

The charts are organised as follows below.

Songs with unqualified “male” (pro)nouns — “he” functions as Taylor’s primary romantic interest:

Tim McGraw

Teardrops on My Guitar

Stay Beautiful

I'd Lie

Fifteen

Hey Stephen

Forever & Always

I’m Only Me When I’m With You – “Just a small-town boy and girl”

Today Was a Fairy-tale – ‘You were the prince/ I used to be a damsel in distress’

Dear John

Better Than Revenge

Superman

Red

I Knew You Were Trouble

The Moment I Knew

Girl at Home

Blank Space — “You're the King, baby, I'm your Queen”

Style

Shake It Off

Wildest Dreams

You Are in Love

…Ready for It

I Did Something Bad

King of my heart – “King of my heart, body and soul”

Call It What You Want

Better Man — “I wish you were a better man”

Cruel Summer – “He looks up grinning like a devil”

Lover – “I take this magnetic force of a man to be my lover”

I Think He Knows

Paper Rings – “Wrap your arms around me, baby boy”

London Boy

Songs with qualified “male” pronouns:

Tied Together with a Smile — not autobiographical.

Our Song — uses reversed perspective.

Love Story — uses reversed perspective.

The Way I Loved You – constructs an opposition between ‘he’ and the gender non-specific ‘you,’ who is the true romantic interest.

Haunted — constructs an opposition between ‘he’ and the gender non-specific ‘you,’ who is the true romantic interest.

Speak Now — uses reversed perspective.

Starlight — not autobiographical.

Begin Again — constructs an opposition between ‘he’ and the gender non-specific ‘you,’ who is the true romantic interest.

New Romantics — it is (arguably) unclear whether the single male pronoun refers to a romantic interest of Taylor’s own (or of her fellow new romantics).

Don’t Blame Me — Taylor’s primary romantic interest is the gender non-specific ‘you,’ however note: ‘I’ve been breakin' hearts a long time, and/toyin’ with them older guys.’

Gorgeous — constructs an opposition between ‘he’/ ‘a boyfriend’ and the gender non-specific ‘you,’ who is the true romantic interest.

Getaway Car —constructs an opposition between ‘he’ and the gender non-specific ‘you,’ who is the true romantic interest.

Miss Americana and the Heartbreak Prince – it is not only arguable that the ‘heartbreak prince’ is independently a gender-neutral epithet (as claimed by Halsey) but also that “me” and “the heartbreak prince” is the proper syntactic pair (“it’s you and me…Miss Americana and the Heartbreak Prince”)

Songs with “female” (pro)nouns:

 A Place in This World — ‘girl’ is self-referential. The song’s subject is not romantic in nature.

Should've Said No — ‘her’ refers to the third party in Taylor’s relationship with a romantic interest whose gender is non-specific (you).

Mary's Song (Oh My My My)

Invisible — ‘she’ refers to Taylor’s rival for the affection of a romantic interest whose gender in non-specific (you).

The Other Side of the Door — ‘she’ refers to the third party in Taylor’s relationship with a romantic interest whose gender is non-specific (you).

White Horse — ‘she’ refers to the third party in Taylor’s relationship with a romantic interest whose gender is non-specific (you).

You Belong with Me — ‘she’ refers to the third party in Taylor’s relationship with a romantic interest whose gender is non-specific (you).

Mine — uses reversed perspective; ‘she’ is self-referential. Taylor’s romantic interest is gender non-specific (you).

How You Get the Girl — ‘her’ may refer either to Taylor herself or to her romantic interest.

This is what you came for

Babe — ‘her’ refers to the third party in Taylor’s relationship w/ a romantic interest whose gender is non-specific (you).

End Game — ‘girl’ occurs only in the featured parts. Taylor’s own romantic interest is gender non-specific (you).

The Man – “what’s it like to brag about…getting bitches and models.”  

ME! – “baby girl when it comes to a lover.” Note that “you’re the kind of guy the ladies want” is implicitly contrasted with “and there’s a lot of cool chicks out there” which is the “one of these things” that “is not like the others, like a rainbow with all of the colours.” Taylor has further stated that ME! Is her first song about “baby chickens.”

The Last Great American Dynasty — “she” refers to Rebekah Harkness, the biographical subject.  

Mad Woman — “she” is the wife of the subject “you,” rather than a romantic interest of the persona “I”.

Betty — uses reversed perspective, although the argument can also be made that actually “James” is a girl/Taylor herself.

Songs with gender-neutral pronouns:

Picture to Burn

Cold as You

The Outside

A Perfectly Good Heart

Jump Then Fall

Untouchable

Come in with the Rain

Superstar

Fearless

Breathe

Tell Me Why

You're Not Sorry

The Best Day — the lyrics are not romantic.

Change — the lyrics are not romantic.

Beautiful Eyes

I heart?

Sparks Fly

Back to December

Mean — the lyrics are not romantic.

The Story of Us

Never Grow Up — the lyrics are not romantic.

Enchanted

Innocent

Last Kiss

Long Live

Ours

If This Was a Movie

Crazier

Christmases When You Were Mine

Christmas Must Be Something More

State of Grace

Treacherous

All Too Well

22

I Almost Do

We Are Never Ever Getting Back Together

Stay Stay Stay

The Last Time

Holy Ground

Sad Beautiful Tragic

The Lucky One

Everything Has Changed

Come Back... Be Here

Welcome to New York – note, however: “you can want who you want, boys and boys and girls and girls.”

Out of the Woods

All You Had to Do Was Stay

I Wish You Would

Bad Blood

This Love

I Know Places

Clean

Wonderland

Look What You Made Me Do

So It Goes

Delicate

Dancing with Our Hands Tied

Dress

This is Why We Can’t Have Nice Things — the lyrics are not romantic.

New Year’s Day

I Forgot That You Existed

The Archer

Cornelia Street

Death by a Thousand Cuts

Soon You’ll Get Better – the lyrics are not romantic

False God

You Need to Calm Down – (i.) the lyrics are not romantic and (ii.) both “my gown” and “his gown” are subsumed by “our gowns.”

Afterglow

It’s Nice to Have a Friend

Daylight

Christmas Tree Farm

Only the Young – the lyrics are not romantic.

The 1

Cardigan

Exile  — in lyrical terms, the love interest is gender neutral (“you”); the pronoun “he” describes this “you’s” new lover.

My Tears Ricochet

Mirrorball

Seven — the pronouns are gender neutral (“you”) but the love interest is, arguably, female coded. Thus “your braids like a pattern” and “pack your dolls and a sweater.”

August

This is me trying

Illicit Affairs —  the love interest’s pronouns are gender neutral (“you”). However, they are arguably female coded. Thus, “leave the perfume on the shelf that you picked out just for him.”

Invisible String — the love interest’s pronouns are gender neutral (“you”). Note, however, “for the boys who broke my heart.”

Epiphany — the lyrics are not romantic

Peace

Hoax

The Lakes

How I made sense of Kaylor (v1 20171231)

This is not intended to create another Kaylor master-post

There are plenty and great ones around, primarily Kaylor master post I, Kaylor master post II, Kaylor Evidence, Reputation Era Master Post. Using existing master-posts and various Kaylor materials, this post is intended to share how I made sense of Kaylor, as well as what I consider equally important as looking through pieces of information and establishing evidences:

Connecting pieces of information and evidences in a coherent timeline to highlight (an established) pattern of events, and subsequently digesting them through a wider lens of reasons. 

Drawing related pieces of information and interconnecting them within certain timeline or context – literally or mentally, always helped me to make a better sense of things. I used the same approach to make sense of Kaylor, and these are a beautified version of the doodles I did. It is not intended as a complete list of events since you can get it from digging through all the master-posts and all Kaylors’ archives. Rather, this drawing picked on some events with a key purpose to show the connection and pattern of things. By taking a less fragmented and more holistic take on things, I am hoping it will give us a better perspective to digest information with a clearer (and kinder) lens.

Building blocks to construct my thought process: 

Kaylor-meter: the chronology of Kaylor events, 

Gaylor-meter: the chronology of Tay’s gay footprints, 

Beard-fest: bearding and PR stunts related to Kaylor / Gaylor

Word-orama: the closest narrative to what Taylor felt, saw and experienced throughout her journey. In some part, they are perhaps the most telling account of the emotional journey she went through the meter, the fest and her life in general.

As always, follow, go and dig through archives in these senior folks for abundant golden nuggets @jennyboom21 @tallcurlygirl @whaler13bg @taytaysbeard @kaydar @all-my-possessions. Aside from its general discourse on Kaylor/Gaylor the last two are particularly my go-to and great blogs for their fascinating perspective and essays on lyrics. Content credit goes to these folks and all Kaylors whose posts are included in this piece. There are plenty of other Kaylor blogs with great pieces and thoughts of which are no less important just because they are not mentioned or referred in here.

The Journey, and how I made sense of it:

The way I see it, Kaylor-meter, Gaylor-meter, Beard-fest and Word-orama are interconnected and interwoven fabrics of Taylor (professional) life as an artist. A fascinating - at times mind-boggling, interplay of staged and debunk. There were elements of real life person Taylor throughout the journey, however, in looking into this Kaylor journey I am using “Taylor the product/brand” lens. (Refer to this post for what I meant by “Taylor the product/brand” lens)

How to make sense of the graph? The post reference numbers are structured as such to help make an easy connection between Kaylor, Gaylor, beards and songs events. For example: Kissgate - ref# (6) is connected to Tayvin - ref# (6a1) and (6a2) to show that Tayvin events are a PR set up connected to (primarily) Kissgate event in Kaylor’s journey. Please note that I only included some of the events in Kaylor-meter, Gaylor-meter and Beard-fest for the reason that this post is intended to show an established pattern, and not an exhaustive list of events. 

So what are the patterns that we can see? 

When Dianna Agron case (D) was leaked, Harry Styles was emerged. However, chain of events indicate otherwise (Da1) (Da2).

When Kissgate (6) happened Calvin Harris was set up as a ‘boyfriend’. Once again, the PR stunt worked for the targeted audience, but not to others (6a1) (6a2).  Read through the detail in the referred Kissgate and Tayvin master-post to understand why they were connected, and why Tayvin was considered as a stunt and not a real thing between Taylor and Calvin.

When the screaming rainbow Reputation was dropped (10), it was also raining beards on Taylor’s (10a1) (10a2) (10a3) (10a4) and Karlie’s part of the world  (y1) (y2) (y3) (y4) (y5)   

Plenty of posts about this PR stunts. In short, the beards are up and fly away whenever there is an album release, when the public caught wind of Tay’s gayness, or when materials or events that can be viewed as gay will be released, with a purpose to cover up and to retain the hetero-narrative. 

(Note: on why beards are needed, refer to Sobering Thought section of this post, as well as search through these folks’ blog: @taytaysbeard @kaydar @paradisekisses)  

Reference posts:

Kaylor-meter: (1) (2) (3) (4) (5) (6) (7) (8) (9) (10) (11)

Gaylor-meter: (A) (B) (C) (D) (E) (F)

Beard-fest: (Da1) (Da2) (6a1) (6a2) (x1) (x2) (x3) (10a1) (10a2) (10a3) (10a4) (y1) (y2) (y3) (y4) (y5)

You may also want to check this Reference from @all-my-possessions for timeline/master post/general information. (note: this link does not work for mobile users)    

The words that tell the (real) story…

Despite the abundant proof of disconnect or illogical events of Taylor’s hetero persona, Taylor official narrative on her albums - except for her two latest albums, still throw people off. However, in looking deeper into her lyrics, significant amount of ambiguity or timeline disconnect have weakened the narrative and indicated that the songs were anything but. Her latest album (Reputation) did so in an a even bolder fashion. As I noted in previous section, Word-orama is another aspect in the stage and debunk games. 

Some great posts that I found helping in shedding the lights on ambiguity and anything but:

(a-e) a series of essays from @all-my-possessions (note: for mobile users, upon clicking on the link, you will be directed to her main page. Use the search bar on the right top pane of her blog and type in index list to access the essays)

(a-f) a collection of posts dissecting the subject of the song, debunking of the beards from songs angle.

Beard defying songs:  (e1) (e2) (D-Da-e3) (D-Da-e4) (f3) (f4) (K-f5) (f6)

Media take on reputation: (f1) (f2) 

So how did I identify the interplay patterns between the meters, beard-fest and word-orama?

When Kissgate (6) happened Calvin Harris was set up as a ‘boyfriend’. Once again, the PR stunt worked for the targeted audience, but not to others (6a1) (6a2).  And (presumably) to muddle further of the public narrative and to encourage non-het reading, Taylor planted ambiguity through her songs  (e1) (e2) (D-Da-e3) (D-Da-e4)

When the screaming rainbow Reputation was dropped (10), it was also raining beards on Taylor’s (10a1) (10a2) (10a3) (10a4) and Karlie’s part of the world  (y1) (y2) (y3) (y4) (y5). Taylor ambiguity further the speculation that it is anything but hetero (f3) (f4) (K-f5) (f6) 

Side note: Just an additional background for those who are not familiar with Taylor’s work - I didn’t, thus the information digging I did: you can view snapshots on Taylor’s album from wikipedia (a) (b) (c) (d) (e) (f) 

Once the pieces are all connected, now what? How should I read it? How should I digest them?

When looking into the information and connecting the dots, one process that I always found important is to digest the connected pieces within its context, and the understanding of the mechanics of and the why behind things. What is the underlying mechanics behind an event? What possible stoppers, risks or ramification that could prevent - what many would see as a natural progression of things, from happening? 

Selected perspectives I considered important to shed a different - and better, lights on the connected pieces: 

The media and public lenses: selected posts to highlight what the media and public see and say about Kaylor (primarily). Outsider perspective always helped to balance the notion of subjectivity on things. It also shows that what internal Kaylors see as evidence were viewed through the same lens by the media/public (1) (2) (3) (4) (5) (6) 

PR & celebrity PR games: selected posts on how things work and why certain events - in Kaylor/Taylor/other celebrities were done in such way. (7) (8) (9) (10) (11) (12) (13) (14) (15)

Ethic and moral wrestling: privacy violation and outing are the controversies many touted in this fandom for various reasons and intentions. I put in selected posts to give (the needed) perspective on these crucial issues. (16) (17) (18) (19) (20) (21)

Kaylors’ words of wisdom: some sobering thoughts to ponder beyond all the excitement in the fandom discourse. (22) (23) (24) (25) (26) (27) (28) (29) (30)

These kind of information and perspective are a crucial and inseparable part of my take on things, since it gave me a better perspective and discourse.

So that’s how I made sense of Kaylor and how I formed my opinion on events throughout the journey. 

Note: aside from seniors mentioned earlier on, special mentioned of blogs with thoughtful discourse: @modellesbians-kaylor @thoseflashinggreeneyes @paradisekissess @kaylorcastle @howyougetthenerd.

Last but not least, the belle of the ball…

Karlie Kloss defies stereotyping in her own right 

Many may see Taylor Swift-Karlie Kloss as just one of those cliche famous musician-model pair up the likes of Adam Levine-Behati Prinsloo, John Legend-Christy Teigen, David Bowie (RIP)-Iman, Mick Jagger-Jerry Hall - of which the list goes on. Who is Karlie Kloss? Is she just one of those pretty faces? The 6 foot giraffe from the Lou does pack a whole lot of punches in answering the stereotyping thrown at her.

Flexing her inner-geek muscle and unleashing her kookie-monster self, Karlie breakdowns stereotyping on those in fashion industry and elevates the platform she has to reach out and opening opportunities for young girls in STEM (Science, Technology, Engineering and Math) whilst opening her heart to those in needs. Owning most of the processes and ideas, her stereotype-defying passion has earned her accolades and acknowledgement from heavy weighters alike. 

Some of industries appreciation on her passions beyond fashion industry: (1) (2) (3) (4) (5) (6) (7) (8) (9) (10)      

My go-to blogs for everything Karlie Kloss: @makistar @fuckthesoliddude @karlieklosschile 

Folks whose work I draw from. Thank you! Fascinating and great insight! 

@anotherday-anotherdrama-drama @karlitakloss @kaylor-evidence @larrienation @jennyboom21 @tallcurlygirl @kaydar @taytaysbeard @whaler13bg @all-my-possessions @modellesbians-kaylor @paradisekissess @thoseflashinggreeneyes @castle-of-brick @100percentsunshine @howyougetthenerd @femmetay @kayspiracy @kaylorcastle @ta-swifts @fuckthesoliddude @iloveanimalssavetheworld @karlieskupkake @svnshineswift @kaylorcastle @thoseflashinggreeneyes @broswiftie @xswhitetee @actyourshoesizegirl @thisiskatsblog @out-of-the-klosset @superspider7890  @raleighcat17 @ificoulddancewithyou @makistar @karlieklosschile 

As I have noted in the first section of this post, there are plenty of other Kaylor blogs with great pieces and thoughts of which are no less important just because they are not mentioned or referred in this particular work. So, go dive in and find them!

PS. Update or correction will be structured as versioning

announcing a re-recording in nashville, where big machine resides, is such a power move. I hope scooter braun and scott borchetta have a horrible night. get fucked.

so this sweater has been ID’d as Band Of Outsiders, Pre-fall 2014. naturally, i did the google 🥴

🥴 so it seems karlie has a bit of a connection to the brand, as the place that did her cookie collab also collabed with them. she also wore a dress from the brand to the 2014 CFDA awards.

just kinda interesting to think, you know, taylor chose to—for the cover of Wildest Dreams Taylor’s Version—wear a sweater from a collection of a brand that karlie was in and around, in and around the same time 🥴💕

“So with Phoebe I reached out and I sent her this song called Nothing New which I wrote when I was 22, and it’s really really special to me because it was the first time I was not a shiny new artist. I was on my fourth album and I felt like — I think this happens a lot of artists where they have their breakthrough moment and then the moment after that is really hard for them because they’re just not getting the same [attention].” —Taylor Swift on Nothing New (x)

“I just was thinking, “Okay, so we have mirrorballs in the middle of a dance floor because they reflect light. They are broken a million times, and that’s what makes them so shiny. We have people like that in society. They hang there, and every time they break, it entertains us.” And when you shine a light on them, it’s this glittering, fantastic thing, but then a lot of the time when the spotlight isn’t on them they’re just still there, up on a pedestal, but nobody’s watching them.” —Taylor Swift talking about mirrorball on lpss

Taylor Swift x Fame

WOW, we need a deep dive analysis on this man body language, I mean, he's "been with her" for 10 years! You can't fake a goodbye kiss, right? then, why is this man paralyzed by it? This is so fucking funny...

Does the 'jerklies' need more evidence?

In the meantime, we are here waiting for the house of cards to start falling slowly, under its own weight.

https://www.instagram.com/p/Caj502ijD-6/

the devil's in the details.

Anonymous asked:

There's a ridiculous video where Karlie goes the extra mile for whatever idiotic reason and reaches to kiss him goodbye in one instance and he's so oblivious that it takes him a moment to realize what she's doing and when he does he sort of turns his cheek and her lips barely land on his mouth. It's one of the cases where Jerk looks more forced than her to clown publicly. But, on the other hand, Karlie has to show she's worth his dirty bearding money, doesn't she now? 😒

Anonymous asked:

Notably there is zero evidence that he spent anytime with her other than for public show // Couldn't agree more, in fact, there's a video going around instagram where you can see Karlie 'kissing' him goodbye outside her hotel in Paris... if they're a "couple", why is he leaving?

Anonymous asked:

THIS IS GOLD! 👏 PURE 👏 GOOOOLD 👏! OMG ! look how awkward he is 😂😂! The failed attempt to make a 'cute' video of the couple...